You are here

Rick Springfield

A short interview I did with RICK SPRINGFIELD to promote The Snake King record. As published in the last Fireworks Magazine.

Rick Springfield is one of those evergreen performers that just seems to keep on going. And he never stands still, bringing his fans new music that challenges and pushes new boundaries.
In his 69th year, Rick delivers a first - a blues based album that seems him delve deep into the swampy authentic delta blues that only the bravest attempt. At the same time, the familiar elements that define his music aren't far from the front. A typically self-depreciating Rick Springfield discusses the new album 'The Snake King' and what drives him still after all these years.

So Rick, I'll keep this brief as I know you're busier now than ever before.
You're taking some musical liberties with this and indeed, the last album. Are you driven by a sense of needing to feel as if you've covered all bases while you are still able to? (Not wanting to age you here!).
I'm 68 and figure I can record music that makes me happy or at least fulfils a need in me. This is just 2018's version of that. Not trying to cover all musical bases because that would mean I would have a disco album in my future and THATS not going to happen!

We are all thankful for that! Rocket Science was a great left turn into the country sphere, but carried the same Rick Springfield essence we all know. The Snake King feels more like a left, then right....it's a lot more focused on the influence of the chosen direction. Was that a conscious decision or just how it naturally evolved?
Well it's not as blues based as I'd envisioned but I like the mix of blues and rock that it became. I don't make records anymore to be liked, I make them because I have music to play and something to say. I decided to do a blues based record but wanted to write all the songs so once I started, it took its own path.

You commented to me a little while back that you 'had to do' this album. What drove that?
Lyrically there is so much going on in my head about the world and God and whatever form the devil takes, and sex of course, that it just happened pretty organically. If you can call getting drunk and writing a bunch of stuff organic. I do. Musically it is, as always, just whatever comes through.

And would you class this as a step away from the RS catalogue, where Rocket Science fitted the mould more easily?
I am not a good judge of that. To me it sounds like me. Certainly, if you look at my whole recording career its gone through changes from time to time so I guess this is just the next change.

The cynical and lyrically unique RS is still prevalent throughout! Did Matt again co-write or were you on your own this time?
This is only my fault. Don't blame Matt. But I will write with Matt again. Especially if this one bombs as badly as I think it will. Hahaha!

Haha, ok! It would probably been easier to do an album of blues standards (but much less enjoyable for us fans). You chose to put a lot of effort into this as you would any normal RS release, yes?
I don't think anyone, including me, wanted a Rick S version of Little Red Rooster. Plus it's about what's happening in my head today so singing about some long dead woman who did me wrong wouldn't be truthful. And all those great old blues songs were done right the first time around, so I wanted to write new 'blues' songs. It's definitely not a particularly happy album so I'd class it as a type of 'blues.'

I certainly did get the overall darker tone and questioning of some common themes from past songs - God, spirituality, suicide, disillusion, relationships etc'
Ok so its not so new, theme-wise, but I think it is because it's a more universal approach. I know a lot of people who have similar feelings to me and in the end you have to write what's in your mind because that's the only way its truthful. The days are gone where I'd make up some boy/girl scenario and write that. The overall theme is I guess WTF is going on???

How about the guitar work - I know Tim Pierce guested - how much of the playing is just you - because, honestly, there is some truly stellar work within this album.
Tim and I played the guitars on this and I played more than I have in a while because my guitar style tends more towards the blues based progressions and I love to play guitar so I said "it's my record so I'm playing on it".
I did all the acoustic, dobro, steel resonator stuff, most of the electric slide and played electric on a lot of it and some of the soloing. Tim is an unbelievably gifted player and can assume any style of guitar work and his soloing and atmospheric playing is amazing on this record.

I have to ask about a couple of the songs - Land Of The Blind sounds like a great starting point - halfway between Rocket Science and this album?
Yes we thought Land of the Blind was a good one to lead off with as it's a little more familiar but still in keeping with the vibe of the record. Work our way in slowly.

But then it's straight into the delta blues with harmonica, horns and smoking blues guitar....
May as well get to it. I still think it's less bluesy than I was picturing it but that's what happens in the writing and recording process. It takes on a life of its own. A friend of mine, Russell Morris, in Australia got me thinking about doing a blues oriented record. He was a contemporary when I was in Zoot and we've been friends ever since and he did some very successful blues CD's, all his own stuff and I thought it was a good idea so I was influenced a bit by Russ.

Those two albums for Russell have been huge down here. Little Demon has a classic hard hitting sound and RS vocal - it's a more naturally you sounding track?
It's actually one of the later songs I wrote so maybe I was getting tired of the confines of the blues thing and wanted to stretch out a bit. I don't really know how to classify my music or talk intelligently about it. That's why I write in the first place, so I don't have to discuss it!

Jesus Was An Atheist is certainly not your average pop lyric - where did that stem from?
A glass or two of wine and a late night. Again, I have no real idea where the final songs come from other than me thinking for a while and then picking up a guitar and turning on a recording device. I have no more real awareness of this or what that means than you do. It's always open to interpretation. Even for me.

And Orpheus In The Underworld seems like a pretty simple "storytellers" type song, but it keeps going....and going! There's a lot of lyrics there! Is that perhaps the longest set of lyrics you've ever written?
It sounds like it bored you Hahahaha.
No, It didn't. It's just long!
Yes, I can see that. I look at it as a lyric stream of consciousness that you have to absorb if you're inclined to.

On the subject of songwriting - how do you feel when many fans (me included) thank you for being the soundtrack of their lives and in particular gaining strength through your songs to help through difficult times?
I had my own songs as a kid and it's a great compliment to be a tiny part of any other humans life. I don't take that lightly but I also think it's the individuals way of finding words and music that speaks to them as a way of helping them through tough moments.

So this is three-four albums in pretty quick succession compared to some parts of your career. Where next?
A nap. I'm thinking about the next record and looking for more good acting work as well as writing prose and other projects that interest me.

To those that would like to hear a more traditional RS album - how would you see that sounding based on where you're at and where you've come from?
I have no idea at this point. As I said it takes on a life of its own once a project is begun.

Is there anything you haven't done that you'd still like to? I can't think of anything to be honest, which is quite amazing really.
I want to be in a great and creative night time TV series so that touring can be a seasonal thing.

On a deeper topic, how do you react to the many untimely passings in the last few years - this week David Cassidy, but also your dear mum and great friends like Darryl Cotton?
It's hard to see people leaving. And someone like David C and Bowie and Tom Petty, you feel like they're friends anyway. Darryl was a difficult loss for us all who knew him because he was so vibrant and positive and such a wonderful human being that it just didn't seem right that he got sick and died so quickly. My beautiful Mum was 96 so it's more understandable but losing your Mum is brutal and she is such a powerful spirit she is still around, we can feel it.

She was loved by many. Any plans for European appearances and c'mon...let's do Australia please!!!
Nothing would thrill me more than to do an Aussie tour. We are working on it. It's just that, like Europe I haven't really been touring there so it's an unknown quantity for promoters and us both. Hopefully we will soon. I have a monster touring band and you should see these guys :)

Few artists have crossed as many boundaries and tested as many limits as Rick Springfield. He’s rarely delivered an album that sounded much like the one before it. Yet you always know just who it is.

Rick has taken a true hard left on a few occasions. And for the most part, his dedicated fan base has followed every step of the way. I say for the most part, because even though I can’t think of a bigger RS fan than myself, there are a couple of albums that sit on my shelf more to satisfy my completist compulsions. And to be honest, they probably sit more because I’m always playing my favourite RS material.

So on a gut feeling that this was something ‘he just had to do’, Rick takes one of the bigger detours of his career, diving into a full service blues album. Well…mostly.

Fans will be familiar with Rick’s love of the blues. Several times over the years he has leant in that direction on an individual song or two. There are still very familiar aspects to ‘The Snake King’. One is of course Rick’s warm voice and those lyrics – delving into familiar subjects like spirituality, God, relationships, sex, depression and temptation.

There is also some familiarity in the music. In fact, there’s a few tunes that could easily have appeared on ‘Rocket Science’ – the fairly breezy country tinged opener Land Of The Blind; plus the cool relaxed Blues For The Disillusioned and the 10 minute long Orpheus In The Underworld, which is quite possibly the most lyrics ever written for any song…ever!

In-between those are some truly impressive examples of some genuine delta blues riffing, complete with harmonica, brass and some guitar playing that really impresses - both fast rocking and slower traditional blues rhythms. Most impressive here, besides the trio of more recognisable Rick songs are the title track; the heavier rock of Little Demon – which converts to a slow guitar solo of pure class; the lyrically dark, rollicking double time blues of Suicide Manifesto and the quite commercial Voodoo House.

And a special mention for the intense title track The Snake King, with its amazing slide guitar.

There’s more than enough here for most dedicated fans to appreciate. For others it might be a case of heading to iTunes and picking and choosing personal favourites, one advantage of this digital age.

The Snake King is a mood album. For me it may not played at the lengths previous albums have been, but I do know that when the mood does arise, I will enjoy this without question. It’s too good not to. Bottom line – The Snake King is all class as usual, as expected.

JUST IN TIME FOR CHRISTMAS – THE MEGA 148-PAGE FIREWORKS MAGAZINE WINTER ISSUE #81

The new issue of Fireworks Magazine is out NOW for online orders (in shops Thursday Dec 14).

Our cover feature sees Joey Tempest discuss the new Europe album and why the band have left their 80s sound far behind. Also on our cover is the work of artist Mark Wilkinson, who in a fantastic six-page feature tells us how landed the Marillion cover artist job, which then led to other amazing projects including Judas Priest and Judge Dredd!

Elsewhere in this issue we talk to Magnum main-man Tony Clarkin discussing the band’s return to form with their new album, as well as detailed chats with Mick Fleetwood, Jeff Scott Soto, LA Guns, Fozzy, Rick Springfield, Joe Satriani, Sons of Apollo, Shakre, The Dark Element, Autograph, Von Hertzen Brothers, Elvenking and fantastic newcomers Midnite City. Little Steven tells us about his long and varied career in music and movies, while ex Battle Beast guitarist Anton Kabanen tells us all about his new band, Beast In Black. Add to that further interviews with Pink Cream 69, Dante Fox, Revolution Saints, Vice, Adrian Vandenberg, Delain, 10 Years, Almanac, Leave’s Eyes and many, many more!

On the features front, Dave Reynolds takes a look back to 1976, the magic year that saw the release of Rainbow ‘Rising’, Rush ‘2112’ and, KISS ‘Destroyer’ alongside stunning debuts from Boston and Starz!

With Sisters In Rock we take a look at the long careers of Doro Pesch, Ann Wilson, Ann Boleyn and Joyce Kennedy, while Bands That Time Forgot covers The Reggie Knighton Band and TKO.

In the final part of his look back at the fanzine scene of the late 80s/early 90s, Rob Evans lovingly remembers the likes of Boulevard, AOR Basement and AOR Classics, chatting with those who were there, sweating blood and tears for the fans.

So what else can you fit into 148 pages? Oh yes – over 50 pages of the best, most detailed CD, DVD and book reviews you can find in the Rock scene, as well as TWO free pdfs totalling 108 pages (so 256 pages in TOTAL this issue!!) and 87 FREE mp3 songs!

20 essential guitarists that we couldn’t have lived without over the past 20 years. There are of course many more, but this is 20 that have really stood out for me and contributed so many records to my collection. Hopefully this list will remind you of their contributions to this scene over the past 20 years.

New Mourning is a 14-track song cycle navigating the beauty in darkness, loss and regret. From the torrid power pop muscle of “Dynamite and Kerosene,” “Burn & Crash,” and “Bad News” to the fragile intimate ballads “1000 Guitars” and “Haunts Me,” the album is a consummate sonic journey that leaves its share of musical blood on the tracks.

“My co-producer Fernando Perdomo has described the record as ‘the feel-bad album of the year, but in a good way,’” said Sharp, “and that’s an apt description. The darkness and emotional turmoil I‘ve gone through in the last few years are laid bare on the record.”

Produced by Sharp and Fernando Perdomo—whose credits include work by Todd Rundgren and Jakob Dylan—the record showcases musical contributions from Rick Springfield (“Burn & Crash,” “Satellite”), guitarist Wally Stocker of the Babys (“Dynamite and Kerosene,” “Loser”) bassist Prescott Niles of the Knack (“Mr. Know It All,” “Dynamite and Kerosene”) and keyboardist Jimmy Waldo of New England (“Satellite”) alongside the team of Perdomo and gifted musicians Rob Bonfiglio (Wanderlust/Wilson Phillips) and Ritchie Rubini (the Caulfields).

New Mourning is Sharp’s fourth album and his first in nine years. His last CD, Sonic Crayons, received raves in USA Today and garnered a four-star review in MOJO magazine, with writer Mat Snow championing Sharp as a shining light in the world of power pop.

HEAR MORE:

“With his new CD, Ken continues to explore the essence of power pop, this time with a harder edge, and some fine guitar and vocal work from Rick Springfield. He's also found a new depth and confidence in his lyric writing, his voice and his production on this new recording. It's his best work yet!" —Eric Carmen

About Ken Sharp: "Ken Sharp is a New York Times best-selling writer who has authored or co-authored more than 18 music books, contributes to a variety of national music magazines, works on music documentaries and has done liner notes for releases by Elvis Presley, Sly and the Family Stone, Janis Joplin, Small Faces, Santana, Cheap Trick and others."

HOLLYWOOD, CA (June 30, 2016) - On Rick Springfield's Summer 2016 tour, noticeably absent from the show will be his guitar technician Ruben Velasco, one of the beloved members of Rick's crew who recently died of cancer. To honor his friend's life and to donate to his legacy fund, Rick is offering fans a chance to step in for his friend and watch the show from the stage as an 'honorary' guitar tech for the show.

Ruben Velasco was not only an amazing guitar technician, he was a huge lover of cats. Having three of his own, he would visit the sanctuary as much as he could to spend time with the special needs kitties. Many of these cats have cancer, leukemia, Cerebellar Hypoplasia (cerebral palsy for humans), blind, deaf and other chronic illness that had put them at high risk to be euthanized at the county shelters. Fur & Feather Animals Sanctuary is a No-kill 'forever home, forever life' sanctuary. The sanctuary specializes in special needs cats giving them second chances to live up to their full potential, no matter how short or long they have to live. Ruben spent numerous occasions visiting, playing, and helping, giving these handicap cats lots of love and attention. With Rubens passing, Rick Springfield and the Sanctuary are creating a legacy for Ruben so his love for cats and music can live on!

'We are honored to have had Ruben as our supporter all these years, as well as contributing to his legacy with Rick Springfield,' states Sarah Richards, Vice Chairman of Fur & Feather Animal Sanctuary. 'With the help of Rick's generosity, Rubens Aunt, Uncle, cousins and a few best friends we are going to unveil a wonderful tribute to this man's life before the end of the year. We are also working with the family and friends to create a forever program in his name. Ruben Velasco is one of a kind and we will miss him dearly.'

PACKAGE DETAILS:

In this exclusive experience, join Rick's crew during sound check and stay for the rest of the show. Outfitted in an official backstage pass and a 'Rock for Ruben' baseball cap, you're welcome to assist in setting up Rick's guitars, if you'd like. You can even hand him his guitar between songs to the cheers of the audience. For helping to remember Ruben, Rick will show his gratitude by presenting you with a personally autographed guitar. He'll also take photos with you and sign autographs. This unique experience will be available at 28 stops on Rick's cross-country tour this summer.

Rick Springfield has never made the same album twice. Take a look back through his career, even as far back as his 1971 debut Beginnings, he has changed his sound continually along the way. There have been albums with a similar musical theme running through them, but never two records quite the same.

In recent years Rick has been more eclectic than ever. From the various sessions that formed the melodic introspect of Karma; to the straight up aggression and angst of Shock Denial Anger Acceptance; to the modern rock theme of the uptempo and personal Venus In Overdrive and Songs For The End Of The World albums – there’s always something new to digest.

In the same way that Karma followed the Sahara Snow compilation; Rick follows last year’s Stripped release with his brand new 18th studio album.

Rick continues his career renaissance with Rocket Science, an album that for me completes the trilogy of releases co-written with bassist Matt Bissonette. It really does continue the sound and style encompassed in Venus and Songs, albeit with a completely new twist.

A country twist.

That word frightens some, but it shouldn’t. Any long time Rick fan will already be comfortable with the notion as it has appeared as a musical influence before in the 70s, again in the 80s (What Kind Of Fool Am I) and even in the 90s with Karma (a very similar acoustic base used on several tracks).

And anyone that enjoyed the utterly brilliant Songs or Venus albums will find instant familiarity in Rocket Science, as the same pop base has been used with the songwriting. Essentially those two records are modern pop albums with heavier guitars.

Rocket Science is the exact same premise, just with a lighter, breezier feel and heavier emphasis on country influences.

It threw me at first, it really did. But after 3 or 4 listens it just sounded like Rick. Like it was something he’s been doing all along.

In fact it is a joy to hear Rick and Matt’s songs over the bed of instrumentation here, which includes the banjo, pedal steel, mandolin, fiddle and violin.

Rocket Science features some of the most unbelievably catchy songs of Rick’s career. It’s quite simply one hook after another from start to finish. The dressing may be different, but the main course is hit songs.

And the production and especially the mix on this album is sensational. It’s no easy feat to balance the many layers a Rick Springfield album always offers into a listenable package, but to go and add so many new instruments and make them all audible within the songs is, frankly, astonishing. Credit there goes to Nashville pro Justin Niebank, who Rick brought in for his expertise in working with the acoustic instruments.

The other immediately obvious aspect of the new album is the lyrical and music positivity. In Rick’s own words, he thought it time to stop ‘pissing and moaning’, which I think is an apt description of what this album doesn’t do. It really is so damn positive and the songs really give off that ‘up’ vibe. Some of the songs on here are simply some of the catchiest, happiest songs of Rick’s career.

And awesome to see longtime associates Tim Pierce and Jeff Silverman amongst the album credits.

Track by Track:

Light This Party Up is exactly what it sounds like – a concert anthem that’s just begging to be played loud. The title sounds country and the song is indeed that – but one of the more hard rocking country tracks I’ve heard and the steel guitar is turned to 11. It rocks along at a terrific pace and is the album’s most obviously simplistic lyric.

Down on the other hand is a wonderful complex, feel good lyric that for me has the exact same impact as track 2 on both Venus (I’ll Miss That Someday) and Songs (Our Ship’s Sinking). An uptempo anthem that has a lot of instrumentation going on under the vocal (as do all tracks), with the acoustic instruments overridden by electric ones in this instance. Another Rick classic.

That One is one of the stronger country themed tracks here, but it also features some modern production effects and something that Rick hasn’t done, that is, change his vocal delivery. So this is basically a Karma style mid-tempo modern pop song that is utterly addictive.

The chorus is impossible not to like and the lyrics are again personal and encouraging. The twang of steel guitar becomes less noticeable and sinks in as part of Rick’s natural sound.

The Best Damn Thing is another wonderful lyric wrapped in a feel good uptempo pop/country/rocker with another unforgettable singalong chorus.

Rick’s regular guitar sound mixes with mandolins and slide guitar seamlessly and while it’s one of the most obvious country tunes here, the fast moving tempo and catchiness is impossible to deny. It’s now one of my very favourites. Can you hear the reference to What Kind Of Fool Am I?

There’s always a left turn within a Rick album and there’s a few on this album. Miss Mayhem is one and the most stark. Starting with a banjo riff (yes!) over a swapy vocal, it then turns heavy with a bluesy hard driving riff and a chorus not like any other on the album. A good dose of guitar for those who might be craving such. A late-song vocal bridge is not unlike something from Sahara Snow.

Pay It Forward is pop perfection. Unbelievably catchy and driven by steel guitar, banjos and violins, the country themed pop rocker is brilliant. Impossible not to sing along to, this tune could be on pop or country radio alongside any modern artist. It reminds me heavily of The Hooters when they take on that Celtic sound so well.

Found is about as country as it gets. The acoustic based ballad is backed with every kind of Nashville instrument and overtone, with fiddle and violins at the forefront. But the vocal is so honest and pure; plus there’s another impossibly catchy hook. The song is every bit as essential as any other track here. It’s not a slow ballad by at stretch and features a full rounded chorus.

Crowded Solitude is another track that’s driven by country instruments and soul. More inspiring lyrics and a singalong barn dance style chorus makes for yet another very catchy track, even if it might be quite removed from what fans of a rockier Rick Springfield might wish for. For those that have liked the album so far, there’s no dip in quality here.

Let Me In is the re-recording of a bonus track from the last album. Another great example of how the style from Songs bleeds into Rock Science. This song is perfect for the format in play here. Rick’s vocal is warmer and richer and the added country influences make this another sure fire hit single given half the chance.

We talk about left turns on Rick albums all the time. All Hands On Deck is not only a left turn, it’s a complete U-turn from the middle lane on a crowded freeway.

This is simple extraordinary song and one of Rick’s fastest moving and catchiest songs ever. It is unlike anything he has ever recorded before.

Starting with a slow steel guitar intro and vocal, the song explodes into this crazy Celtic stomp that reminds me of an 18th Century sea shanty. It’s The Hooters meets Captain Pugwash with a gallon of rum thrown in. Brilliant.

We Connect is a song that will sound much more familiar to Rick fans. This is almost free of any country instrumentation. Rather it is a darker, heavier and moodier song that sounds like it could easily have come straight from Songs For The End Of The World. It’s another very fine addition to the folder of Rick angst songs and I’m sure will be a favourite for many. Wonderful haunting lyrics too.

(I Wish I Has A) Concrete Heart takes things back on message with a breezy acoustic driven pop/rock song with some modern production loops and personal lyrics. The chorus bursts to life with another instantly likeable hook. It’s just another brilliant song that follows a string of other brilliant songs.

Earth To Angel is the perfect way to close this amazing album. A breezy pop/country song with a more rocking chorus (catchy as always) that combines the influences of this album in a feel good song that again reminds me of The Hooters.

Unfortunately the only bonus track of the several listed available that I can comment on is the one with the Japanese version of the album. Jessie’s Girl (2016) is nothing like what I anticipated. It’s a complete reimagining of the song, with new bridge harmonies and a completely new musical bed that brings the song into a darker, modern realm, with increased programming and a huge new hook to really invigorate this old classic.

Makes me wonder what Rick could do with some of his other 80s classics. Next album perhaps?

And after 45 minutes (49 with the bonus track) the ride is over. It may be a hayride, but it’s a hayride with electric guitars, modern rock production, a million dollar mix and 13 of the catchiest songs you’ll hear from any one artist on one album.

I know what some will be thinking. If this is such a great album, surely I would be leaning towards other modern country artists to listen to. But no… It’s not the country style of this record that makes it great – it’s Rick’s lyrics, his vocal nuances and the mix of his recent style with something new. It all comes together to make a catchy as hell album whose songs would work in any style.

I can’t understate the brilliance of these songs. The style might not suit everyone, but I have to think that this could be the best produced album of Rick’s career. Everything is just packed in so brilliantly, with all instruments clearly audible and Rick’s vocal performance is one of a 30 year old.

The country influences might turn some away, but they will be the folks missing out. I hadn’t planned a perfect score, but over the last 8 weeks I haven’t stopped playing this. Just brilliant.

"Tad Kubler is an Indie artist and he has a band called The Hold Steady, which is very popular with the kids. He lives in Brooklyn and has guitars, recording equipment, and a desire to write with me, so off I go to Brooklyn, harboring unrealistic dreams of maybe becoming a respected and legitimate Indie artist. Writing with someone new is always a scary and potentially embarrassing proposition. (Case in point: the Todd Rundgren story I tell in my Stripped Down Solo Show. BUT I LOVE Todd. So it’s all good!)

"Anyway, we hook up (Tad, not Todd, and I) and go at it. I’ve never met Tad before, and it’s a weird thing getting together with a stranger and proceeding to try to create a little magic and wizardry in the nebulous arena of songwriting. It’s all so hit-and-miss—the creative writing thing. No writer really understands where the music comes from (unless it's subconscious plagiarism of an old Beatles or Rolling Stones tune.) You just pick up an instrument, face each other and hope for the best.

"Well fortunately for both Tad and me, Tad came up with a cool guitar line that I put some chords behind, we recorded it and I left Brooklyn with some potential Indie credibility and a good riff that eventually found its way into the chorus of a song Matt Bissonette and I wrote called 'Miss Mayhem' (*Actually, not an Indie-sounding song in the slightest.)

"'Mayhem' was going to be the original title of this album/CD/free-download. (But if you download it for free you won’t be able to read all these stunning literary gems. Wait, but if you did download it for free you wouldn’t know you were missing them so that kind of negates the whole ‘Ha ha, you suck for stealing my music’ thing. Okay, never mind.) Anyway, I thought the title 'Mayhem' made the album sound like it might be by some thrash metal band instead of a one-dimensional pop star/soap opera geek. And I do so prize my one-dimensional pop star/soap opera geek status.

"So, 'Miss Mayhem.' Yes we have all met her/him at some point in our romantic past. A burning hot, amazing-in-bed, beautiful/handsome, f**king whack-job!! Aren’t they the BEST!!! I brought my Dobro guitar (an old bluesy instrument) to Matt's house one day and started playing this riff and Matt yelled, 'Yes, yes, keep playing that!' And before I could say 'Keep playing what?' we had a song. And we called her 'Miss Mayhem.' Enjoy. It has occasional elements of an Indie/thrash metal tune."

Mark your calendar as we'll be streaming live from Nashville, TN on Friday, February 12th beginning at 9pm CT via Yahoo Music! Catch Rick Springfield live in concert at: https://bit.ly/1KrzxjR or via the Yahoo app on mobile (iOS & Android) and connected devices (Apple TV, Roku, Xbox). Rick will be performing select songs from his new album "Rocket Science" along with the smash hits and fan favorites!

Rick Springfield Returns With New Song 'Let Me In' From Upcoming Album 'Rocket Science': Exclusive Song Premiere

Rick Springfield calls his upcoming disc,Rocket Science, "probably the most positive album I've ever written." And it's not just because he expects big sales or lots of attention for it.

"I was just wanting to change my attitude," Springfield tells Billboard. "Pissing and moaning about something and dooms-daying is not gonna help anything. I've always been a big one to do that, pissing and moaning. So I wanted to have some solutions for once rather than just moaning. I've been having a better mindset lately and focused on different things. I'm always fighting the depression -- that's taught for me -- but the way I deal with that mainly is just to write, and feeling that I'm doing something creative really helps my mood."

That said, "Let Me In" -- the first song Springfield wrote for Rocket Science, which comes out Feb. 19 -- was drawn from darker circumstances in his life. "I was having issues with my primary relationship, and it came out of that," explains Springfield, who's been married to wife Barbara since 1984. "The best songs come from a moment of truth for me, and that was an issue I was having a really tough time with, so it came from that. I'm very guilty of creating conflict to get the emotions stirred up and be able to write. There's deeper stuff in conflict; That's the only time you stop and think is when things aren't going well. When things are going well you're kind of full steam ahead, and I don't really write much when I'm happy."

Billboard is exclusively premiering "Let Me In" below, as well as Springfield performing an acoustic version of the track and a behind-the-scenes video about the song.

GRAMMY' WINNER, ACTOR, BEST SELLING AUTHOR RICK SPRINGFIELD
TO RELEASE 18TH STUDIO ALBUM
ON FRONTIERS MUSIC SRL ON FEBRUARY 19, 2016

FIRST SINGLE, 'LIGHT THIS PARTY UP', OUT NOW

Rick Springfield is bringing new music to his fans with a brand new studio album, Rocket Science. Springfield's 18th studio album will be released globally on Frontiers Music Srl on February 19th. Yesterday, December 9, USA Today hosted the world premiere of the first song from the album, 'Light This Party Up'. The song can be enjoyed here:

With 25 million records sold, Rick Springfield has withstood the test of time far better than most critics would ever have imagined, performing nearly 100 concerts around the world every year. He has written and performed some of the best-crafted power pop anthems of the past 40 years, including 17 U.S. top 40 hits; among them, 'Don't Talk to Strangers', 'An Affair of the Heart', 'I've Done Everything for You', 'Love Somebody', and 'Human Touch', as well as the 1981 Grammy' Best Male Rock Vocal winning No. 1 single, 'Jessie's Girl'. Springfield has even more to say on his latest release, Rocket Science.

The new album features classic Springfield compositions like the crowd pumping 'Light This Party Up', the sensitive ballad 'Let Me In', the anthemic 'All Hands On Deck,' and the blues infused rocker 'Miss Mayhem', on which he collaborated with indie artist Tad Kubler of the band The Hold Steady. Rick also wrote 'Down' 'in the middle of an ice storm on a stranded tour bus'with Rascal Flatts' Jay DeMarcus.

Springfield says 'Rocket Science is my 18th studio album. It swears a bit and doesn't respect authority, but it does look after its invalid mother. It has some of the country elements I love, but as much as I understand we should all be sucking up to Nashville, it's still a wide ranging pop/rock record. I hope you dig it!'

Frontiers Music Srl President Serafino Perugino states 'Rocket Science is the fourth album that Frontiers is releasing with Rick Springfield, the first one that also involves the US territory. It's always been a pleasure to be at Rick's service, he's a true musical legend and his albums are always top notch. Rocket Science is no exception, and once again this will be a true delight for all his fans, myself included!'

Rocket Science is a pop/country blend fused with Springfield's signature songwriting and performance style, and features much of Springfield's touring band joined by some guest players. The album was mixed by veteran Justin Niebank, who gave the project it's tight feel. Other featured players include iconic guitarist and longtime Springfield collaborator Tim Pierce, plus songwriting partner and album co-producer, Elton John bass player Matt Bissonette.

In addition to collaborating and starring in the Dave Grohl documentary 'Sound City' and penning two New York Times best selling books, Springfield played opposite Academy Award' winner Meryl Streep in Jonathan Demme's 'Ricki & The Flash', plus a multi episode arc in the HBO series 'True Detective'. He also appears opposite Orange Is The New Black's Pablo Schreiber and actress Sosie Bacon in the forthcoming film, 'Traces'.

Pre-orders for Rocket Science are available now on Apple Music/iTunes and Amazon.com. Those who pre-order the MP3 version of 'Rocket Science'' will instantly receive the first single, 'Light This Party Up', with additional tracks made available in the forthcoming weeks prior to release. As an added feature, digital versions of the album will feature a bonus track, 'Beautiful Inside'.

Rocket Science as a whole was influenced by Springfield's longstanding affection for country music, and his collaborators include J.T. Harding and Rascal Flatts' Jay DeMarcus. "It isn't a country album, " he notes. "But I like all the elements of country. Honestly, Nashville is where pop music has gone -- that's where all the great playing is and all the great hooks are coming from. And these are players that grew up listening to me and people like me, so there's mutual love."

Another masterpiece is set for delivery February 19. Take a bow RICK SPRINGFIELD.

Rock Science is another crazy ride for long time fans of Rick’s. This is filled with some of the catchiest tunes of his career and has the energy of a 19 year old just breaking into the business.

Once again Rick delves deep to deliver some brilliant lyrics, but all in all, this is a pretty happy record. And there are some quite extraordinary songs featured here.

In fact, there’s one tune that just might be the most infectiously happy song ever recorded in the history of the world.

This is Rick as you’ve never heard before! This is going to throw some fans completely off balance. First listen I was shocked. Second I was uncertain. Third I was hooked. And from there is just gets better and better as these songs cling to your brain like a new born koala grips its mother’s back. I’m 2 weeks in and can’t stop playing this, just as was the case with Venus In Overdrive and Songs For…

The production and mix is simply perfect, as is the flow of the album and the contagious uptempo ride fans are about to go on.

So just what has Rick done this time?

Rick has taken the sonic template of Songs For The End Of The World, the same modern melodic rock songwriting style and production quality, the same band and added violins, fiddles, banjos, mandolins, steel guitar and harmonica to create something extraordinary.

Yes, he’s gone Nashville, but this is still 100% Rick Springfield. It’s Songs For The End Of The World meets Keith Urban. But don’t let that paint the full picture of this album. Far from it.

At the end of the day though, it’s the songs. This is genius stuff folks. I hope the change in direction is not any hindrance to discovering just how good these songs are, the amazing vocals and just how damn good this record sounds.

RICK SPRINGFIELD will be on tour this summer along with special guests LOVERBOY and THE ROMANTICS

8/29 – Delta Classic Chastain Park – Atlanta, GA

8/30 – St. Augustine Amphitheatre – St. Augustine, FL

9/2 – Hard Rock Live – Hollywood, FL

9/4 – Red Hat Amphitheater – Raleigh, NC

9/5 – Uptown Amphitheatre – Charlotte, NC

9/10 – First Merit Bank at Northerly Island – Chicago, IL

9/11 – Jacobs Pavilion at Nautica – Cleveland, OH*

9/12 – Borgata Event Center – Atlantic City, NJ

9/13 – PNC Bank Arts Center – Holmdel, NJ

9/16 – NYCB Theater at Westbury – Westbury, NY

9/17 – Sands Event Center – Bethlehem, PA

9/18 – Freedom Hill – Detroit, MI

9/20 – PNC Pavilion – Cincinnati, OH

9/22 – Cynthia Woods Mitchell Pavilion – Houston, TX

9/23 – Zoo Amphitheatre – Oklahoma City, OK**

* Rick Springfield, Loverboy, Donnie Iris and The Cruisers

** Rick Springfield, Loverboy

Loverboy Press Release:

Time to haul out those iconic red leather pants and bandanas from mothballs, because Canadian hard-rocking legends Loverboy are ready for a full slate of summer touring, including a run of dates with fellow '80s hitmakers Rick Springfield and The Romantics for one of the season's must-see tripleheader concert events. Loverboy are currently enjoying a cultural renaissance, with major companies such as Taco Bell and RadioShack using the band's image and music to promote their products to the '80s generation which grew up on the group, and others who are just being introduced to their anthems. These days, Loverboy's not just "Working for the Weekend," but "Lovin' Every Minute of It," too, performing for those fans who "Get Lucky" enough to catch one of their shows.

Loverboy's tour starts with headline dates in April 25 in Pompano Beach, FL at the Pompano Beach Seafood Festival, and runs through October 1 at the Central Washington State Fair in Yakima, WA. The band will be joined by Springfield and The Romantics for dates starting August 29 at Atlanta's Chastain Amphitheater, running through September 23 in Oklahoma City, OK. The band will also be playing two shows in the Los Angeles area for the first time in years, including The Canyon Club in Agoura Hills, CA (September 25) and the Saban Theater in Beverly Hills (September 26). A full listing of dates is below.

Loverboy have been delighting audiences around the world since forming back in 1979 when vocalist Mike Reno was introduced to local guitar hot shot Paul Dean in Calgary. The group has four multi-platinum albums, including the four-million-selling Get Lucky, and a trio of double-platinum releases in their self-titled 1980 debut, 1983's Keep It Up and 1985's Lovin' Every Minute of It. Their string of hits includes, in addition to the arena-rock anthem "Working for the Weekend," such staples as "Lovin' Every Minute of It," "This Could Be the Night," "Hot Girls in Love," "The Kid is Hot Tonite," "Turn Me Loose," "When It's Over," "Heaven In Your Eyes" and "Queen of the Broken Hearts." Last July, the band released Unfinished Business, their first collection of previously unreleased material in seven years.

Their summer tour dates are as follows (headliners unless noted) More dates TBA:

RICK SPRINGFIELD's upcoming new studio album - a follow up to 2012's masterpiece 'Songs For The End Of The World' will possibly feature as many as 16 tracks.

The singer/songwriter recently stated in an interview that: "It is the best album I have ever made and it will be out in a few months. Recorded in my studio 'The Black Lagoon', it is 16 new songs with big choruses, great grooves..."

On hearing that I had to of course ask Rick about such a bold statement! His reply - "Hahahaha...shameless self promotion!"

Big expectations folks!

Rick has a huge 2015 stillto come, with the new album plus a TV role on True Detective Season 2 and a major movie with Meryl Streep 'Ricki & The Flash'